PHILIPPE HERREWEGHE CONDUCTS BEETHOVEN

ORCHESTRE DES CHAMPS-ELYSÉES(FRANCE)

9 JUN 2017, FRI, 7.30PMESPLANADE CONCERT HALL

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PROGRAMME

Philippe Herreweghe conducts BeethovenOrchestre des Champs-Elysées

BeethovenSymphony No. 5 in C minor

~ Intermission ~

BeethovenSymphony No. 7 in A major

(1hr 30mins, including 20min intermission.)

ABOUT CONDUCTOR

PHILIPPE HERREWEGHEPhilippe Herreweghe was born in Ghent and studied at both the university and music conservatory there, studying piano with Marcel Gazelle. He also started to conduct during this period, and founded Collegium Vocale Gent in 1970. He was invited by Nikolaus Harnoncourt and Gustav Leonhardt, who had noticed his innovative work, to participate in their recordings of the complete cantatas of J.S. Bach.

In 1977 he founded the ensemble La Chapelle Royale in Paris, with whom he performed music of the French Golden Age. From 1982 to 2002 he was artistic director of the Académies Musicales de Saintes. During this period, he founded several new ensembles with whom he made historically appropriate and well-thought-out interpretations of repertoire stretching from the Renaissance to contemporary music. They include the Ensemble Vocal Européen, specialised in Renaissance polyphony, and the Orchestre des Champs Elysées, founded in 1991 with the aim of playing Romantic and pre-Romantic repertoire on original instruments. Since 2009, Philippe Herreweghe and Collegium Vocale Gent have been actively working on the development of a large European-level symphonic choir, at the invitation of the prestigious Accademia Chigiana in Siena.

Herreweghe continually seeks out new musical challenges, and for some time has been very active performing the great symphonic works, from Beethoven to Gustav Mahler. Since 1997 he has been the musical director of the Royal Flemish Philharmonic (deFilharmonie). He was appointed permanent guest conductor of the Netherlands’ Radio Chamber Philharmonic since 2008. He is also in great demand as a guest conductor with orchestras such as Amsterdam’s Royal Concertgebouw Orchestra, the Gewandhaus Orchestra in Leipzig and the Berlin-based Mahler Chamber Orchestra.

Over the years, Herreweghe has built up an extensive discography of more than 100 recordings with all these different ensembles, on labels such as Harmonia Mundi France, Virgin Classics and Pentatone.

Herreweghe has received numerous European awards for his consistent artistic imagination and commitment. In 1990 the European music press named him Musical Personality of the Year. In 1993, Herreweghe and Collegium Vocale Gent were appointed Cultural Ambassadors of Flanders. A year later he was awarded the Belgian order of Officier des Arts et Lettres, and in 1997 he was awarded an honorary doctorate from the Catholic University of Leuven. In 2003 he received the French title Chevalier de la Légion d’Honneur. Lastly, in 2010 the city of Leipzig awarded him its Bach-Medaille for his great service as a performer of Bach.

www.collegiumvocalegent.comwww.orchestredeschampselysees.comwww.defilharmonie.com

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ABOUT

ORCHESTRE DES CHAMPS-ELYSÉESThe Orchestre des Champs-Elysées is devoted to the performance of music written from the mid 18th to the early 20th centuries (Haydn-Mahler), played on the instruments that existed during the composer’s lifetime.

For several years, the Orchestra has been in residence at the Théâtre des Champs-Elysées in Paris and the Palais des Beaux-Arts in Brussels, performed in almost all the major concert halls such as Musikverein (Vienna), Concertgebouw (Amsterdam), Barbican Centre (London), Alter Oper (Frankfurt), Philharmonic Halls in Berlin and Munich, Gewandhaus (Leipzig), Lincoln Center (New York), Parco della Musica (Rome), and Auditoriums of Dijon and Lucerne. The Orchestra also toured Japan, Korea, China and Australia.

Philippe Herreweghe is the artistic director and principal conductor, and the Orchestra has played under several guest conductors, among them Daniel Harding, Christian Zacharias, Louis Langrée, Hans Holliger, Christophe Coin, and René Jacobs. The Orchestre des Champs Elysées feels passionately about offering an innovative approach to music and therefore, at each one of its concerts it offers the possibility of public rehearsals, conferences, or meetings and workshops with classes of school children.

The Orchestre des Champs-Elysées, partner of the TAP – Théâtre Auditorium de Poitiers, is funded by the French Ministry of Culture and the government of the Poitou-Charentes region.

The Orchestra’s extensive discography includes:Mozart Requiem, Mass in C minorBeethoven Missa Solemnis, 9th Symphony, Complete Works for violin and orchestraBrahms German RequiemMendelssohn Elijah, Paulus, Midsummer Night’s DreamSchumann Scenes From Faust, Cello Concerto, SymphoniesBerlioz Enfance du Christ, Nuits d’EtéFauré RequiemBruckner 4th, 5th & 7th Symphonies, Mass No.3Mahler Des Knaben Wunderhorn, Symphony No.4

Tour Presenter: CCM Classic Concerts Management www.ccm-international.de

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FIRST VIOLINCONCERT MASTER Alessandro Moccia

Philippe JegouxIlaria CusanoRoberto AneddaAsim Delibegovic Marion LarigaudrieEnrico TeddeBénédicte TrotereauSebastiaan Van Vucht

SECOND VIOLINCorrado MasoniThérèse KipferJean-Marc HaddadCharlotte GrattardClara Lecarme Corrado LeporeGiorgio OppoAndreas Preuss

VIOLAJean-Philippe VasseurMarie BeaudonBrigitte Clement Delphine GrimbertLuigi Moccia Catherine Puig

CELLO Ageet ZweistraVincent Malgrange Hilary Metzger Andrea Pettinau Harm-Jan Schwitters

DOUBLE BASS Axel Bouchaux Damien Guffroy Michel Maldonado Massimo Tore

MUSICIAN LIST

FLUTEGeorges Barthel Manuel Granatiero Giulia Barbini, piccolo

OBOEEmmanuel LaporteTaka Kitazato

CLARINETErnst Schlader Daniele Latini

BASSOON Julien DebordesJani Sunnarborg

CONTRABASSOONKarl Nieler

HORNJean-Pierre Dassonville Jean-Emmanuel Prou

TRUMPETPaul Lepicard Charles-Édouard Thuillier

TROMBONEHarry Ries Guy HanssenGunter Carlier

TIMPANIMarie-Ange Petit

Artistic Director and Principal Conductor: Philippe Herreweghe

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PROGRAMME NOTES

In the autumn of 1801, Beethoven revealed for the first time his secret—he was losing his hearing. He was turning 31 that year, and had already lost 60% of his hearing. However, he wrote in a letter to physician and childhood friend F.G. Wegeler that he would “seize Fate by the throat; it shall not bend or crush me completely”.

The next year, he discovered that his worsening deafness was incurable; he was heartbroken and nearly driven to suicide. He penned a letter1 to his brothers explaining his withdrawal from society:

“Though born with a fiery, active temperament, […] I was soon compelled to withdraw myself, to live life alone. If at times I tried to forget all this, oh how harshly was I flung back by the doubly sad experience of my bad hearing.

But what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone heard a shepherd singing and again I heard nothing. Such incidents drove me almost to despair; a little more of that and I would have ended my life -- it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me.”

The two symphonies on the programme today are performed in the historical style.2 They were composed at the peak of what music historians call Beethoven’s “middle period” of his composition life, where he wrote some of his most popular works such as the ‘Waldstein’ and ‘Appassionata’ sonatas, and the fourth to eighth symphonies. This was also the period that saw the decline and eventual loss of his hearing in 1816.

Symphony no. 5 in C minor, Op. 67

When English novelist E.M. Forster wrote his tour de force novel Howard’s End between 1908 to 1910, radio broadcasts or even recordings of the work did not

exist.3 One can only imagine how few times Forster had heard the work live. Yet, it must have left such an indelible impression on him that he used the work, first as a foreshadow, then later as a scaffold for the plot. He opens his fifth chapter with the high praise “... that Beethoven’s Fifth Symphony is the most sublime noise that has ever penetrated into the ear of man. All sorts and conditions are satisfied by it.”4

The Fifth Symphony was premiered in Vienna on 22 Dec 1808, the last work in an all-Beethoven marathon-concert that included the Sixth Symphony, a concert aria Ah, Perfido!, two movements from his Mass, and Beethoven performing his own Fourth Piano Concerto. With a combination of freezing winter weather, under-rehearsed musicians and demanding, sophisticated contemporary music, it does not come as a surprise that reports say the concert did not go well.

Composer and critic E.T.A. Hoffmann begged to differ, and seeing the value in the Fifth Symphony, wrote that Beethoven’s music “induces terror, fright, horror and pain that awakens the endless longing which is the essence of Romanticism”, and has the ability to “tear the listener irresistibly away into the wonderful spiritual realm of the infinite.”5 Although during Beethoven’s lifetime, both he and his contemporaries thought his best work was still his “Eroica” Symphony (no. 3), the Fifth Symphony continued to grow in popularity from the 19th century and came to be the defining work of Beethoven’s life and music.

At the beginning of Forster’s novel, the two heroines, Margaret and Helen Schlegel attend a concert at the Queen’s Hall in London, not thinking too highly of the Brahms, Mendelssohn and Elgar pieces on the programme. Beethoven’s Fifth, however, has their full attention; while their younger brother Tibby follows its performance from the “full score open on his knee”,6 Helen conjures up a fantasy from the music.

To Helen, the first movement Allegro con brio was all about heroes and shipwrecks; Beethoven saw it in a different way. “So pocht das Schicksal an die Pforte”,7

that later became known as the Heiligenstadt Testament (or a suicide note turned ‘I will survive’), written in the suburban, countryside Viennese town of Heiligenstadt where Beethoven had gone to escape the agitation of city life.Refer to note on Historically-Informed Performance at the end of programme note.Shellac records, the predecessor to vinyls, were in existence since 1901 but were not widely available yet. The first recording of Beethoven’s Fifth Symphony was only made in 1910, and even then, it was incomplete.Forster, E. M., Howards End accessed 17 May 2017. All references to Beethoven’s Fifth quoted here can be found in Chapter 5. [http://www.online-literature.com/forster/howards_end/5/]As quoted in Samson, Jim, ed. The Cambridge History of Nineteenth-Century Music, p. 139Forster, E. M.

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he told his assistant Schindler, of the celebrated opening consisting two groups of four notes. Played in unison by only the strings and clarinets, Beethoven made sure that fate was simply knocking, and not pounding or hammering at the door. The key is ambiguous, listeners wonder if unsure of whether the music would turn out in a major or minor key. Fate knocks again, this time more urgently, with the cellos and bassoons establishing the minor key with a sustained C.

This rhythm of ‘fate knocking’ is heard throughout the symphony, running in various guises: subdued, or triumphant, through its four movements, Man wrestling with Fate in a herculean contest until Man emerges victorious in the Finale.

In the first movement, fate knocks in almost every bar, even the horn call that precedes the second theme, and slightly later as an accompaniment in the lower strings, as the softer and more lyrical second theme is introduced by the violins. Beethoven builds up the intensity as the music develops, and then suddenly time stops for a moment: everything freezes and a single, unaccompanied oboe plays a quasi-cadenza (a lament, a sigh?) before it is business as usual with the recapitulation of what came before.

The second movement, Andante con moto follows a loose theme and variations form. Forster’s character Helen sees it as ‘very beautiful, but bearing a family likeness to all the other beautiful Andantes that Beethoven has written’.8 In the more muted key of A-flat major, the first theme is introduced by the violas and cellos, and the second, by the woodwind choir and higher strings. The second theme becomes more assertive, and changes into the key of C major (a parallel to the C minor of the first movement), supported by the trumpets and timpani. Helen listens to the theme, and her mind wanders, as the music wanders into a spontaneous extemporisation that covers a wide range of thoughts. Just when one thinks that the music will end on a quiet note, Beethoven builds up hype to an almost-military ending in the last half a minute, all while staying on an A-flat chord.

Forster writes of the third movement Scherzo (and trio): Allegro,

Helen said to her aunt, “Now comes the wonderful movement: first of all the goblins, and then a trio of elephants dancing [...] Look out for the part where you think you have done with the goblins and they come back”, as the music started with a goblin walking quietly over the universe, from end to end. Others followed him. They were not aggressive creatures; it was that that made them so terrible to Helen. They merely observed in passing that there was no such thing as splendour or heroism in the world.9

The goblins creep in, forwards and upwards in the form of the basses, joined by the higher strings, and the horns march across their path with their own loud and insistent version of fate. These motifs alternate until the elephants come dancing one after another, marking the start of the trio section by a change of key to C major. When the scherzo returns, it is quieter than it was before, the string section plucking instead of bowing.

Tibby ‘implored the company generally to look out for the transitional passage on the drum’10 because the quiet pounding of the timpani set an atmosphere of expectancy, that something important was going to happen. The timpani rolls get louder, as do the sustained chord of the winds and the insistent tremolo in the strings until the music bursts forth in an explosion of brilliance in C major from the brasses (including trombones, making this the very first time trombones were used in a symphonic orchestra work), announcing the start of the triumphant finale Allegro; Presto.

Midway through the goblins returned in the form of the horn theme from the Scherzo: an imperfect cadence suspends the orchestra on a G note, and that becomes the pathway for the goblins quietly to enter in C minor, as if trying to shake up the triumph that was established before. Overthrowing the goblins, ‘Beethoven chose to make all right in the end’,11 affirming the victory with fifty-four bars of pure C major music and destroying any shadow of doubt.

Translated to ‘Thus knocks fate on the door’Forster, E. M.Ibid.Forster, E. M.Ibid.

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“He [Beethoven] brought back the gusts of splendour, the heroism, the youth, the magnificence of life and of death, and, amid vast roarings of a superhuman joy, he led his Fifth Symphony to its conclusion. But the goblins were there. They could return. He had said so bravely, and that is why one can trust Beethoven when he says other things.”12

Symphony no. 7 in A major, Op. 92

Whether it represented fate knocking at the door and the triumph over fate in the end, “V” for “five” in roman numerals and “V” for “Victory”, or even the rhythm of the first four notes corresponding with morse code for the letter V (dot-dot-dot-dash), there is agreement over how the Fifth Symphony traces an emotional passage from determination to triumph. Beethoven had implied it, and musicologist Donald Tovey agreed that it is “among the least misunderstood of musical classics”.13 Beethoven’s Symphony no. 7 in A major, Op. 92 however, has no clear indication of any programme of the work, and listeners are left speculating and finding meaning to the movements where Beethoven simply titled them with tempo markings.

The symphony was finished in Apr 1812, but the premiere only came a year and a half later, on 8 Dec 1813, together with his Op. 91 Wellington’s Victory at a concert held as a benefit for Austrian and Bavarian soldiers.14 The programme was so well-received that it was repeated three times over the next few months. At first, Beethoven was miffed that a critic referred to his Seventh Symphony as “a companion piece” to Wellington’s Victory, but the public loved it so much that the second movement was encored each time the symphony was played.

For mid-19th century listeners, who tried to find meaning in all they heard, this symphony was “a procession in an old cathedral”, a tale of Moorish knighthood, or even more absurdly, a political revolution from beginning to end.15 Fellow composers too, tried to put a meaning to the music. To Richard Wagner, this symphony was “the apotheosis of the dance”, Schumann thought of a peasant wedding, and Berlioz heard a ronde des paysans or a barn dance in the first movement.16

But Beethoven was “disgusted and enraged” by their speculations that he considered them “balderdash”, and he wrote a letter in 1819 to a friend and amateur musician Dr. W.C. Müller, protesting “energetically against such interpretations of his music.”17 Arguably, that is where Beethoven might just have succeeded because his music inspired a multitude of diverse and personal interpretations.

The secret to unlock the meaning in his music may just lie in the very basic building blocks - Beethoven’s distinctive use of rhythm and innovative harmonic relationships. Unlike the Fifth Symphony where a single rhythmic motif binds the symphony together, each movement in the Seventh Symphony has its own distinctive rhythm.

The first movement begins with an expansive introduction marked Poco sostenuto, one of the longest introductions to a symphony in history up till then (64 bars, or approximately 3 minutes!), meandering to distant, different keys such as C and F major and yet making them sound as comfortably at home as the original key of A major. This sets the harmonic stage for the rest of the first movement, which gains momentum from unison E notes, repeated, echoed, and then as though catching fire, launches into the joyous Vivace section where the allusions to dance stemmed from, with repeated dotted notes.

The second movement Allegretto was a roaring success from its premiere, that the public demanded an encore of it. It is also the most well-known movement played independently of the symphony and used in mainstream media, such as soundtrack music for the films Knowing and The King’s Speech. Coupling nostalgia and mystery, the music begins with a minor chord, and the low strings follow with the melody that we first hear: an astounding example of how Beethoven could fashion a vast world from the humblest of materials. The solemn intensity is built up slowly and beautifully, each voice entering and forming a layer above the previous by counterpoint.

The blazingly fast third movement Scherzo takes place in the key of F major, one of the “foreign” keys

Ibid.Tovey, Donald, Essays in Musical Analysis, Vol. 1, Oxford University Press, 1955. Wellington’s Victory was originally meant to be played by the Panharmonicon, a mechanical instrument invented by Maelzel, who is famous for inventing the first dependable metronome, but it was played in a version for orchestra at the premiere.Dr. Karl Iken, editor of the Bremer Zeitung and a contemporary of Beethoven, mentioned in Thayer, A. W., Deiters, H., Riemann, H. & Krehbiel, H. E., Thayer’s Life of Beethoven, Vol. 2. Princeton University Press, 1965, p. 765.Lockwood, Lewis, Beethoven, Seine Musik – Sein Leben. Metzler 2009, p. 181.Thayer, A. W., Deiters, H., Riemann, H. & Krehbiel, H. E., Thayer’s Life of Beethoven, Vol. 2. Princeton University Press, 1965, p. 766.

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introduced in the first movement, now brought back with an upgraded status. As if a reminder not to take life too seriously, Beethoven writes in musical jokes by reversing the dynamics and playing with the orchestration.

To come full-circle by the end, as with in the finale of the Fifth Symphony, Beethoven punctuates the opening of the Allegro con brio with two big chords, and creates a whirling energy in the home key of A major. Of course the keys of C and F majors make an appearance and settle for a while, but are soon chased away as the music spins into a jubilant close that mirrors the energy of the first movement.

Programme notes by Natalie Ng

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A Note on Historically-Informed Performance

HIP or Historically-Informed performance has come to dominate the world of classical music performance, gaining traction from the 1960s. On the most basic level, it means performing music with the intention of preserving the technology and performance conventions that were present at that time the music was composed. In most times, it also means that performers play on antiques or replicas (exact copies of surviving instruments in museum collections) to get the strengths and limitations of early instruments, contributing to the historically-informed sound.

Knowledge on musical style and performance conventions can be compiled from primary sources such as treatises and other reference materials by composers of the era of music performed (eg. Carl Czerny’s Letters to a Young Lady on the Art of Playing the Pianoforte, and the writings of Leopold Mozart on violin-playing). Of course, such practices are still largely speculative (we didn’t eat the food they ate, dress the way they did or even travel in the same way, so the sights, smells, and sound worlds they would have experienced is vastly different) as it is based on the information we can put together from scholars of our era.

Although performances are informed by historical practice, the orchestra does not aim to recreate authoritative ‘museum pieces’ as conductor Philippe Herreweghe believes that no two people conduct the same way, even 300 years ago. Herreweghe’s philosophy is to find out ‘where each piece comes from and what it is made of’, and that makes the Orchestre des Champs-Elysées versatile and able to take on music from Haydn to Debussy.

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